“Architecture begins where engineering ends.”
WALTER GROPIUS
Contact Info j o s h b2 5 2 5 @ g m a i l . c o m 727.288.1543
Contents
06-19
Highline
20-29
Fort Mantanzas
30-37
Miami
38-45
Digital Design
46-53
War Museum
54-59
Charleston
60-63
Graphic Design
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Morgan Museum Annex with plaza and direct highline access.
National Park Visitor Center
South Beach Recreation Center
Photography
An introduction to parametric design and rendering
Outdoor war musuem with observation tower Mutli use community center
Chelsey NY Fall 2015 Instructor John Curran
An off site addition to the New York Morgan library to house and exhibit it’s rare fine art collection. Located in Chelsey a thriving neighborhood in southwest Manhattan with a large art community and adjacent to the Highline elvated park system. Key design elements in the project are the 20,000 sq ft plaza extending from the building under the highline to 10 Ave and 26th st, access points to highline, secure chambers for art storage, and mixed use exhibit, classroom, reading room, lecture hall spaces.
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Left Satelite image of site Right Final Model
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The plaza was left open to provide ample space for local freemarkets and large outdoor concerts with two planters as a soft boundaries toward the street. The grand stair sweeps under the highline and up along the side providing opportunities for close interaction.
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Inspired by the highline’s black steel structure I decided to incorporate this material along with the red brick which is common in Chelsey to reinterperet and draw from the buildings context.
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The floor plates to the left 5, 6, 7, are restricted access areas for storing and restoring the collection
The grand stair, connection to highline, and structure inspired by the higline
The plaza and highline massing
The pattern for the skin was made by mirroring a structural component and scaling it down to span one floor hieght. It covers slightly less than half the structure as a visualization of the dual public and private nature of the facility. The restoration and storage floors have multiple levels of enclosure as some documents are so sensitive fresh air and sunlight will greatly damage them.
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Right Final Model Left Section through plaza
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Above Detail of shadows cast by skin and structure. Right View from the plaza of the grand stair leading up to the highline.
Directly refrencing the turns and breaks of the Highline the plaza and floor plans show the lines breaking from the city grid making it unique and irregular in it’s context. A linear 5 ft divide in the floors acts as a light well, visual and auditory connection between floors, and a building scale space division between public and private areas. The polished concrete floor plates contrasts the black steel and provides a foundation for the red brick to used as a signifier to delineate space ie, elevators, circulation, storage, exhibit spaces, classrooms, restoration areas.
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Matanzas Inlet, FL Fall 2015 Instructor John Curran
Fort Matanzas was built by the spanish in 1742 to protect Matanzas Inelt the southern entrance to St. Augustine.On a remote site 15 miles south of St. Augustine FL is Fort Matanzas National Monument. It consists of a modest spanish Fort just big enough for 5 cannons and 7 men set on 100 acres of salt mash and barrier islands half a mile inside the Matanzas Inlet.
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Section perspective looking North from the Inlet
A small visitor center to house 3000 sq ft event space, artifact archive, ranger’s offices, bathrooms and small theater. Most of the structure,the ground floor event space and circulation to the fort, is open air with a row of air conditioned program spaces on the second level. By elevating the program spaces I followed the organization of the fort which is elevated 12 ft on a plinth of rammed earth for ideal cannon placement and views views overlooking the Inlet.
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Above The ground floor plan shows the alignment with the fort’s axis and the site’s close proximity to the water edge.
Another driving force of this design was to make the Fort handicap accessable. This was solved by a ramp along the east west axis and counterpoints the Fort’s North South orientation. The event space on the ground floor can can occupied while the monument is still able to recieve visitors without added congestion. The exposed frame of the structure would allow native vines and ecology to be a permenant part of the structure and change it’s enclosure over time. The coquina stone of which the fort is built is also very suseptable to moss and plant growth on it’s surfaces.
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process model
Driftwood parti
process model
Computer model
A parti was created with the aid of a piece of drift wood I found at the site. I hollowed out the inside eposeing hidden chambers eroded by the moving waters of the tide. The volume and linearty of the form coupled perfectly with a main constraint of the project that no space be larger than 30 ft wide. The slight curve in the form was simplied to be orthagonal. This was a conceptual leap for me and helped me avoid being too representational. The concepts from the wood model erosion, linearty, permiability were explored in study models alongside digital 3d modeling software. In keeping with the concept of erosion all fenistration to the roof and facade are subtractions from the simplified form, a rectangle.
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I paticularly enjoyed this process of using the found object and manipulating it to extract concepts and generate the parti. The parti and concepts coupled with the process of simplification produce a modern interperetation of the strong tidal forces the Matanzas Inlet is know for. Alotting space for vegitation on the structure allows the landscape to cooperate with the design and visualizes the passage of time.
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MIAMI South Beach Miami FL
Spring 2015 Instructor Brandon Hicks
Located just off Beach Drive and across from South Beach Park.A recreation and community center with acomodations for houseing a resident artist and exhibiting work during the annual Art Basel in Miami. The narrow alley-like site has heavy pedestrian traffic from the inland to South Beach.
The ground plan was divided into primary circulation, directly to the beach, and secondary circulation, to civic rest area shaded by the building. Stairs on the right bring you up to the lobby level and atrium space. The second level is open plan for class space and small civic functions. The third floor is the live-in studio for the resident artist during Art Basel.
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Above access from Collins st Right Final model in context
Left Process models of volumetric and structural studies
Above Logitudinal section through building and connection to Beach Drive
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A satelite image shows the connection to the beach from the inland via Flamingo Way.
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Digital Design Summer 2015
Instructor Jeff McDowell
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I was excited to learn Rhinocerus 3d modeling software and to use this tool to reinforce my design process. The exercise was to take a process model from a previous studio and recreate it with software then render it. I took to the program well but know I have only scratched the surface of it’s capabiliies.
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The panel system is made with algorithm aided design and it’s components can be manipulated and reconfigured in very little time.
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I am encouraged by theses first attempts and look forward to expanding this area of my skill set. I aim to have renderings with every project in my next portfolio.
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Spring 2015
Instructor Brandon Hicks
War Museum
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This project is a 60,000 sq ft outdoor memorial museum with observation tower, pavilion space and exhibit areas. I chosse to honor those who died at sea during WWII. The angles of the circulation are inspired by charted nautical maps.
Right Process section drawings Below Process site plan
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Above Axonometric drawing of the tower shows it’s core that supports the outer skin allowing it to be suspended off the ground.
Inspiration for the tower’s paneled skin came from this edited photo of a process model which is aesthically interesting but does not work when circulation is added.
The submarine symbolizes the many unknowndangers faced by those in active war
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Charleston Fall 2014
Instructor Steve Cooke
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Below Process models
The Charleston project was an open program, museum scale, intervention on the 40 ft seaside bluffs of South Carolina. The building interacts with the bluff by providing circulation from waters edge to the top and excavating spaces that create a unique spatial qualities.
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A central structural core holds the forces of the building that are not ancored back to the bluff allowing it’s forms to appear perched and hovering over the water edge. The narrow entry space is 3 stories high giving you visual connection to all floors. The space transitions to a 12 ft horizontal space that draws you around views of the water then up the slight ramp.
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Photography
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RAPHIC DESIGN